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Over 200 hymns (arranged by topic with four-part harmony and guitar chords) are included in this work. Includes several indexes, including scripture references and composers and sources clearly organized.

What did nuns sing? How did they learn about music? How did the music affect their piety? This book answers these and many other questions about the musical life in English nunneries in the later Middle Ages. Drawing upon a wide range of historical sources, Yardley pieces together a mosaic of nunnery musical life. Formal monastic rules, medieval liturgical manuscripts, records from bishops' visitations to nunneries and other medieval documents provide evidence that even the smallest convents sang the monastic offices on a daily basis and that many of the larger houses celebrated the late medieval liturgy in all of its complexity.

In Thresholds Marcel Cobussen rethinks the relationship between music and spirituality. The point of departure is the current movement within contemporary classical music known as New Spiritual Music, with as its main representatives Arvo PArt, John Tavener, and Giya Kancheli. In almost all respects, the musical principles of the new spiritual music seem to be diametrically opposed to those of modernism: repetition and rest versus development and progress, tradition and familiarity versus innovation and experiment, communication versus individualism and conceptualism, tonality versus atonality, and so on. As such, this movement is often considered as part of the much larger complex called postmodernism. Joining in with ideas on spirituality as presented by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the classification of the 'spiritual dimensions' of music as described above. Thresholds presents an idea of spirituality in and through music that counters strategies of exclusion and mastering of alterity and connects it to wandering, erring, and roving. Using the philosophy of Martin Heidegger, Georges Bataille, Jean-FranAois Lyotard, Jacques Derrida and others, and analysing the music of John Coltrane, the mythical Sirens, Arvo PArt, and The Eagles (to mention a few), Cobussen regards spirituality as a (non)concept that escapes categorization, classification, and linguistic descriptions. Spirituality is a-topological, non-discursive and a manifestation of 'otherness'. And it is precisely music (or better: listening to music) that induces these thoughts: by carefully encountering, analysing, and evaluating certain examples from classical, jazz, pop and world music it is possible to detach spirituality from concepts of otherworldliness and transcendentalism. Thresholds opens a space in which spirituality can be connected to music that is not commonly considered in this light, thereby enriching the ways of approaching and discussing music. In order to achieve this, it is necessary to show that spirituality is not an attribute of music, not a simple adjective providing extra information or used to categorize certain types of music. Instead, the spiritual can happen through listening to music, in a more or less personalized relationship with it. This relationship might be characterized as susceptible instead of controlling, open instead of excluding, groping instead of rigid.

Contains biblical songs of justice, World Church songs of protest and praise, and songs of experience from late 20th century Britain.

In 1714, the 29 year-old Johann Sebastian Bach was promoted to the position of concertmaster at the ducal court of Weimar. This post required him for the first time in his already established career to produce a regular stream of church cantatas-one cantata every four weeks. Among the most significant works of this period is Ich hatte viel Bekummernis in meinem Herzen (Cantata 21). Generally known in English as "I had much affliction," Cantata 21 draws from several psalms and the Book of Revelations and offers a depiction of the spiritual ascent of the soul from intense tribulation to joy and exaltation. Although widely performed and loved by musicians, Cantata 21 has endured much criticism from scholars and critics who claim that the piece lacks organizational clarity and stylistic coherence. In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole. Drawing on a wide range of Lutheran theological writing, Chafe shows that Cantata 21 reaches beyond the scope of the individual liturgical occasion to voice a breadth of meaning that encompasses much of the core of Lutheran thought. Chafe artfully demonstrates that instead of simply presenting a musical depiction of the soul's journey from sorrow to bliss, Cantata 21 expresses the various stages of God's revelation and their impact on the believing soul. As a result, Chafe reveals that Cantata 21 has a formal design that mirrors Lutheran belief in unfolding revelation, with the final movement representing the work's "crown"-the goal toward which all of the earlier movements are directed. Complete with full text translations of the cantata and the liturgical readings that would have accompanied it at the first performance, Tears into Wine is a monumental book that is ideally suited for Bach scholars and students, as well as those generally interested in the relationship between theology and music.

Explores the messages of twenty-five of the greatest hymns in the Christian faith. Uncovers fresh meaning and new significance to familiar, favorite hymns. Show how biblical truths are encapsulated in the lyrics of hymns. Shows how the great hymns have shaped the church's life and vitality. Includes the lyrics of each featured hymn. Written by a musician and preacher Perfect for devotional reading

for SATB and piano Mack Wilberg's calming and pensive Meditation is an adaptation of Charles Gounod's famous Ave Maria which is itself based on J.S. Bach's Prelude in C Major from the first book of The Well-Tempered Clavier. The accompaniment is derived from the piano solo transcription of Gounod's work by Georges Bizet. To the piano's rising arpeggios and Gounod's melody, Wilberg has added a gently weaving choral texture, setting the words 'Alleluia, Amen'.

Olney Hymns in Three Books; Book I On Select Texts of Scripture; Book II On Occasional Subjects; Book III On the Rise, Progress, Changes, and Comforts of the Spiritual Life. Includes categories such as Sacramental Hymns, Prayer, Creation, Conflict, Comfort, Dedication and Surrender.

This classic work of hymnody from 1863 draws together a rich selection of German chorales with their tunes, translated by Catherine Winkworth, and edited by William Sterndale Bennett and Otto Goldschmidt. They were arranged for use in the Church of England, and grouped into subjects such The Church and its Seasons and Services, aspects of Christian Life and Special Occasions. Although some of the contents are still in common use today, it is primarily a rich sourcebook for many beautiful forgotten hymns of the Lutheran tradition. This handsome new edition from Benediction Classics uses high-quality scans for the music only, all the text has been carefully typeset using a modern font for ease of reading.

Whether music's appeal to the senses detracts from or contributes to devotion is an important question for all religious traditions. This interdisciplinary, cross-cultural collection is intended as a first step towards a phenomenology of religious music. Topics range from the mystical strain in Jewish liturgical music to music in the Theravada Buddhist heritage. Contributors include Lois Ibsen al Faruqi, Bruce B. Lawrence, John Ross Carter, and Donna Marie Wulff.